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"...certain physical relationships–correlations–are the true character of physical form. 
These correlations, or spatial connections, are the actual essence of form, and the particular
physical form (the object that we perceive) is a byproduct of the topological relationships."
artist's statement
The result of topological processing for this project produces a visual answer, but it also produces another question. 
I
t asks, “what is the essence of art and its process of development?” 
statement
"This shows that another understanding of art can coexist with academic art history–as a non-euclidian art history–and through this approach, the essentially topological character of art is exposed." 

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Artist's Statement
Topology
(Topology of Art/Digital Art Chapter 7)

Art History, as a scholarly study of the development of art, is typically formulated through a linear and hierarchical model.  This approach relies on a basic principle–the influence of earlier works and earlier artists as a chronological base.  This is one way to see art. 

In this project I took a different approach and I utilized the principles of topology as a conceptual foundation.  Topology is a field of study in mathematics and geometry, and it tells us that certain physical relationships–correlations–are the true character of physical form.  These correlations, or spatial connections, are the actual essence of form, and the particular physical form (the object that we perceive) is a byproduct of the topological relationships.  In my approach, this means that by physically applying the concept of topology to a visual image, it is possible to observe the relational characteristic of visual art, independent of academic art history. 

As a correlation to the conceptual approach, the technical process used for this project, to create digital artwork, is an important aspect.   Essentially, digital technology relies on topological principles–in both the software that is used and in the hardware that is necessary for its function.  Using these technical processes and computer technology to create digitally-based art is, literally, the practice of topology.  These physical and conceptual practices are the components of the topological process in this project. 

The result of topological processing for this project produces a visual answer, but it also produces another question.  It asks, “what is the essence of art and its process of development?”  This shows that another understanding of art can coexist with academic art history–as a non-euclidian art history–and through this approach, the essentially topological character of art is exposed. 

Koya Abe
2012



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